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Official Release #70. This two-CD set represents almost all of Frank Zappa's concert on January 20, 1976, at Hordern Pavilion in Sydney, Australia... The only problem is that there was only one reel-to-reel machine to record the concert, necessitating missing portions of several songs to change tapes; these gaps were replaced by excerpts from a pitch-corrected bootleg from the same tour, with an obvious drop in sound quality but little loss in continuity. This particular band -- with tenor saxophonist Napoleon Murphy Brock, bassist Roy Estrada, drummer Terry Bozzio, and keyboardist Andre Lewis (in his only tour with Zappa) -- has only been represented sporadically on Zappa's earlier releases.

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156 tracks (58 with Frank Zappa contributions). 40-page color booklet. Reproductions of original 45 RPM labels. Many tracks making their CD debuts. Crossfire Publications have set a May 28, 2012 release date for a 5-CD set of recordings from the pre-Mothers era, with many tracks making their CD debuts. The set is entitled "Paul Buff Presents Highlights From The Pal And Original Sound Studio Archives." Paul Buff, owner of Pal Recording Studio in Cucamonga, California from 1957-1964, first opened up his archives in 2010 for a large series of download-only releases. This 156-track collection features 58 early masters by the late Frank Zappa, recorded at Pal and Original Sound Recording Studios. These recordings feature Zappa as performer, writer and/or producer.

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Finer Moments is a curious but mostly excellent compilation of (mostly) instrumental odds and ends put together by FZ in 1972 that went (mostly) unreleased until 2012. Disc one concentrates on the 1968-1969 Mothers. The first four tracks are from a 1969 Royal Albert Hall show that was partially documented in the film Uncle Meat. "Sleazette" is a great guitar solo, but the Mozart piece loses quite a bit without the "ballet" visuals. "The Wailing Zombie Music" sounds part-composed/part-conducted improvisation. "The Old Curiosity Shoppe" is a nice jam from 1971 featuring some nice wah-wah alto sax from Ian Underwood and wicked soloing from FZ.

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Documentary which examines the influence of the Bizarre and Straight record labels, set up by the musician Frank Zappa. Though the initial idea behind the imprints was to provide Zappa with artistic independence by freeing him from his present record contract, the label founder poured every bit as much energy and enthusiasm into the records released by other artists as he did his own. The labels provided a home to Alice Cooper, Captain Beefheart and Tim Buckley, among others, and have become an integral part of rock music history.

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During his last years, Frank Zappa concentrated on his "serious music," trying to impose himself as a composer and relegating the rock personality to the closet. His last two completed projects topped everything he had done before in this particular field. The Yellow Shark, an album of orchestral music, was released only a few weeks before he succumbed to cancer (the computer music/sound collage album Civilization Phaze III was released a few months later). This CD, named for a plexiglas fish given to Zappa in 1988, culls live recordings from the Ensemble Modern's 1992 program of the composer's music.

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Desperate to remove himself from his original deal with Verve Records, in 1968 Frank Zappa he set up the Bizarre and Straight labels in league with manger Herb Cohen, and so began a string of releases which remain extraordinary in the extreme. This film revisits and reviews the astonishing music that came out on Bizarre and Straight, and reveals the background, operations and, crucially, the lives of the musicians, performers and management who made these labels the legendary reality they became. Includes rare footage, archive interviews and of course the music that made it all worthwhile.

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Having recorded some works with a large orchestra in January 1983, in January 1984, Frank Zappa arranged for some of his chamber works to be performed by Pierre Boulez's Ensemble InterContemporain, a 16-piece group. "The Perfect Stranger," "Naval Aviation In Art?," and "Dupree's Paradise" were given this treatment, and the four remaining tracks are the product of Zappa's music synthesizer, the Synclavier.

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While Frank Zappa had ostensibly been "on his own" since the dissolution of the Mothers of Invention in 1969, never before had he used the term "solo artist" as literally as he does on the Grammy Award winning (in the "Best Rock Instrumental Performance by an orchestra, group or soloist" category) Jazz from Hell (1986). After two decades of depending on the skills, virtuosity, and temperament of other musicians, Zappa all but abandoned the human element in favor of the flexibility of what he could produce with his Synclavier Digital Music System.

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The soundtrack to Frank Zappa's strange early-'70s film 200 Motels was always doomed to be a peripheral entry in his discography. The movie's story was not easy to follow, and neither is the record (not that plot was ever a big focus of the production). It's typically wacky Zappa of the era, with unpredictable sharp turns between crunchy rock bombast, orchestration, and jazz/classical influences, as well as interjections of wacky spoken dialogue. Those who like his late-'60s/early-'70s work -- not as song-oriented as his first albums, in other words, but not as "serious" or as silly as his later records -- will probably like this fine, although it's not up to the level of Uncle Meat.

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